Following his breakthrough feature "Rushmore", director Wes Anderson continued his association with writer/actor Owen Wilson, and both created the family dysfunctional opus "The Royal Tenenbaums". The film follows the story of a particular family where all the offspring were child geniuses, who are now grown up and somewhat trying to adjust to a reality where they're not the precocious tykes they once were. They are all dealing with challenging situations in life, and they reunite once their mother gets a marriage proposal, particularly because though estranged from their father, she never really divorced him. Royal, the patriarch, distanced himself from the family, and suddenly comes back to try and win the graces of the family (particularly because he's been evicted from the hotel where he was living).
Wes Anderson has by now trademarked a style that is very much his own. A quirky, design detailed with retro references, humor filled universe, where all the characters are sketched out with very particular traits, to better portray a canvas that is a representation of his view of the world. If "Rushmore" was an introduction to his view of the world, "The Royal Tenenbaums" was effectively the first one where he delved deeper and came out with a style that he would continue to refine in his next features (and his most recent "The Grand Budapest Hotel" is a crystallization of all these elements that make his style so unique). This film brings forth a lot of the themes that are so associated with his work: the family unit that is filled with idiosyncratic characters, all of whom are in some way trying to adjust to a very ordinary universe, all peppered with self questioning and love pursuits that seemingly go nowhere. This merger of design aesthetic with humor and heartfelt characterizations, feels in a way like a nod to the superlative work of Jacques Tati, but it's still very much his own. The actors are all phenomenal, as usual, with Gene Hackman easily creating one of his best characters, with strong support from Ben Stiller and Bill Murray. The cinematography from Robert D. Yeoman is stunning as is the production design of David Wasco. A very good film from a very interesting director.

After the fantastic "Sleepy Hollow", director Tim Burton tackled the iconic book "Planet of the Apes" from writer Pierre Boulle, which had already been adapted with tremendous success in the 60s by Franklin J. Schaffner (with Charlton Heston). The story focuses on the story of astronaut Leo Davidson, who following some unexpected events at a space station, crashes in an unknown planet in the year 5021, and much to his surprise, the planet is ruled by humanoid apes who speak english, while humans are slaves. Leo ends up under the protection of an ape by the name of Ari, who is against the current treatment of humans, but he quickly escapes, freeing all human prisoners in the process. While retreating to Calima, the apes temple, Leo finds out that the area has the remnants of a space station, and starts discovering further details about the history of the planet.
Tim Burton is a talented film maker with a very unique aesthetic and universe. "Planet of the Apes" which could have been a fitting proposition, since it tackled the concept of another alienated and lost hero, suffered from a lot of studio pressure, and the resulting film feels rushed and without his particular stamp. The film is competently executed, from the visual effects, score (from the always fantastic Danny Elfman), to the phenomenal cast, particularly Tim Roth, Helena Bonham Carter and Paul Giamatti, but sadly lacks the distinct point of view that makes every Tim Burton so unique and particular. It's a film that showcases a lot of potential, but the epilogue lacks impact, and the casting of Mark Wahlberg is a poor one, since he feels lost and lacks the capacity to give both the vulnerability and intelligence the character needs. A missed opportunity from a talented director.

Director Alejandro Amenabar followed his well received "Open Your Eyes", with his first English speaking feature. The film, which he wrote, follows the story of Grace Stewart and her two children, who are living in a remote house in a somewhat isolated area in 1945. Grace's children have an uncommon ailment, which makes them sensitive to sunlight, and therefore the house always has the drapes drawn, and the children never go outside. The arrival of three servants to the house, coincides with a series of occurrences, all of which makes Grace suspect that there are other individuals in the house. The children mention to Grace there's a little boy by the name of Victor living in the house also, something that frightens and surprises Grace. As the strange occurrences continue Grace progressively realizes what truly lies beneath the house, the servants and her own family.
Alejandro Amenabar is a veritable dynamic talent who has emerged from Spain since the early 2000s. "The Others" was both a commercial and critical success, and it's a testament to his talent and capability to build suspense and mystery progressively, like a yarn that is slowly created. The film builds suspense and surprise, by using shadows and light, and by featuring an effective performance from Nicole Kidman, who more than ever, brings to mind the late Grace Kelly. The relationship between the main characters is just odd enough to add the air of unease that dominates the entire film. It's an intelligent film that frightens more by suggestion, than by relying on gore or gratuitous violence. The cinematography from Javier Aguirresarobe is stunning, as is the production design from Benjamin Fernandez. An entertaining film from an interesting director.

Prolific director Steven Soderbergh followed his successful year (2000, where he won the Oscar for best director, for "Traffic"), by tackling a remake of the Lewis Milestone film of 1960, "Ocean's Eleven", which featured the iconic members of the Rat Pack (Frank Sinatra, Dean Martin, Sammy Davis Jr. , Peter Lawford and Joey Bishop). The film focuses on Danny Ocean, who following his release from prison, reunites with his best friend Rusty Ryan. They both go to Las Vegas, to prepare for a coup that involves robbing three of the biggest casinos in the area. Danny in particular wants to tackle those three casinos, since they're all owned by Terry Benedict, who is currently dating his ex-wife Tess. Danny and Rusty go about recruiting a team of people they believe can make the whole heist go smoothly.
Steven Soderbergh is one of the most interesting directors working in Hollywood currently. He has the deftness of being able to combine a more conceptual and artistic vein, with a commercial knack, which makes his films an interesting hybrid. If some of his earlier work was a bit more esoteric (such as the underrated "Kafka"), following "Out of Sight", he started a series of films that mixed some experimentalism with known genres, something that "Ocean's Eleven" is a perfect example of. The film exhibits an ease and flow to itself - it's smart and entertaining, but also very humorous. It's a film that is aware of its concept, with an impeccable production team, making the set pieces flow seamlessly (and Steven Soderbergh is usually also responsible for the cinematography of his features). It doesn't take itself seriously, and the film is more successful for it. The entire cast has a great chemistry and complicity, something that makes the film even furthermore entertaining. A good film from a great director, always worth watching.

David Lynch followed the celebrated "The Straight Story" with what was originally intended as a new pilot for a TV show. When the pilot didn't get picked up, the project found itself in limbo, until Canal + gave the money to finish what needed to be wrapped in terms of story, and "Mulholland Dr." was born. The film premiered at the Cannes film Festival of 2001, where it won the award for best director, and it went on to win many more accolades that year. The film focuses on three characters: the first one we are introduced to is Rita, a beautiful woman, who due to an accident, is amnesiac and finds herself randomly in the streets of Hollywood. The second is a young actress coming to town, by the name of Betty. The bright eyed Betty is staying at her aunt's, and she's going for an audition and an attempt at becoming an actress. The third central character is Adam Kesher, a young director, going through some tribulations in his personal life, and whose latest feature comes under the attention of some characters wanting to control some of the participants in that same film. Betty and Rita are brought together, and jointly start trying to understand who Rita is, which sends them a progressively darker road.
David Lynch is one the most unique directors currently working. He has been one since his debut with "Eraserhead" (1977), and has carved out a career on his own terms, with themes that are very much his own, but usually a merger of surrealism, filled with cinematic references, American art (Norman Rockwell infused aesthetic), a stylized and sometimes highly violent perspective of society. The merger of these themes, distilled through his very unique sensibility, mixed with a zany sense of humor, have made most of his films simultaneously delicious and full of elements to interpret and try to discern. None of this is more obvious than in "Mulholland Dr. " that is quite possibly one of his most enigmatic and also most interesting films. The film that starts as an investigation in the milieu of the Hollywood arena, which becomes something else, much darker in tone, making the viewer question what had been watched and seen before. It's a film that takes you on a journey with these characters, one that builds an atmosphere that becomes progressively more ominous and yet also romantic (and at times quite funny). It's a fascinating film, anchored in one of the best performances captured by Lynch on film, that of Naomi Watts, who manages to show true versatility and range within seconds of a singular scene. A great film from a unique voice in film.

Writer, Producer and Director Alex Kurtzman, a name long associated with JJ Abrams, is tackling Universal's first film in a series of monster films that are supposedly coming out in a series. The first is "The Mummy", which focuses its attention on the character of Nick Morton, a military man, who while in service in Iraq, discovers an ancient tomb containing a cursed mummy. Turns out this mummy is in fact a long lost princess and heir to the Egyptian throne, who made a pact with evil forces, and now freed, focuses her attention on Nick. Nick alongside his unexpected ally, the beautiful Jenny Halsey, are soon the target of this powerful entity, who follows them to London, where she starts wreaking havoc. It's up to these two with the help of a hidden society to try to derail her plans.
The most surprising element about a film such as this, isn't the sophistication of the visual effects, or the considerable talent that has been placed in front and behind cameras. It's effectively the fact that there are 6 talented screenwriters credited to this film, and yet this is potentially one of the most nullified stories that has graced the screens in recent memory. There is no intrigue, no character building, no real opposing forces to speak of, no real sense of excitement. There are some random chase scenes, some characters that try to mimic Griffin Dunne's deadpan delivery from John Landis' "An American Werewolf in London", all of them amounting to very little. The most recent films from Stephen Sommers focused on "The Mummy" were silly and over the top, but there was a somewhat genuine sense of silliness to them. This new incarnation doesn't really know what it wants to be: a classic pulpy adventure or modern revisitation with a bite. Sadly it fails on both counts: the mummy comes across more like a tragic figure from the past, and Tom Cruise spends the film looking confused and surprised by what he really needs to be doing. A messy and instantly forgettable film.

The expansion of the DC comics universe continues, following the critically reviled "Batman vs. Superman" and "Suicide Squad". Director Patty Jenkins follows her celebrated debut "Monster" with a bigger canvas, one that showcases her vision for the iconic Wonder Woman character, that Zack Snyder introduced last year in "Batman vs. Superman". The film follows the story of Diana, who is brought up in a secluded island by the tribe of Amazons. While there, Diana is trained to become a resourceful warrior, something that is tested when a man crashes in the waters surrounding the island. The man turns out to be a spy, by the name of Steve Trevor, who is working for the Allies, during the first World War. Diana is convinced that the God of War, Aries, is in reality influencing humankind to create war. She, alongside Steve Trevor, go to London, and then Paris, in order to fight in the trenches, and get to the German General, she believes to be the main instigator of war (and secretly Aries).
Patty Jenkins has managed to create a smartly built adaptation of the Wonder Woman mythology. The film leverages the scenarios that were carved by the comic books, and even the original TV show from the 70s. The director builds the universe where these women exist for the first part of the film, allowing for the relationship between the lead characters to evolve. This relationship building continues through Diana's attempt at understanding the fabric of society and women's roles in the 1910s. These are the sections of the film that holds more interest, all the way through Diana's action scenes at the trenches. The final act of the film turns out to be the most generic, with the special effects overcoming the storyline that had been built before (and in a way, is very similar to the approach that Zack Snyder uses in his DC universe adaptations). The film is nonetheless entertaining for the most part, even if a bit campy when it comes to drawing out the villain characters (it also brings to mind Joe Johnston's "Captain America: The First Avenger"). The cast assembled is quite strong, with good performances from Chris Pine and Connie Nielsen. The cinematography from Matthew Jensen is beautiful, as are the costumes from Lindy Hemming. An interesting effort from an interesting director.

About Me

Joao Pedro Canhenha is a UX Creative Director and Lead Product Designer (UI/UX/Visual Design) who has started developing projects in the Interactive arena since the year 2001. Since then, he has worked on a wide variety of projects, of different natures and in different conditions. The path has been utterly rewarding and as a result it has been a constant growth experience, one always filled with discovery and enlightenment. Ultimately the goal has always been the same: providing solutions that are rewarding and that meet what the client/project aims for. Something unique, specifically conceived and always functional. The goal is to continue developing projects that reach wider audiences, that bring satisfaction to clients and ultimately find the balance between functionality and technical expertise.